Nineteenth-Century Music Review

Instructions for Contributors

Editorial Policy

Published three times a year, Nineteenth-Century Music Review welcomes submissions locating music within all aspects of culture in the long nineteenth century (1780s to 1920s). Covering the widest possible range of methods, topics and concepts, the journal especially welcomes interdisciplinary scholarship and work with fine visual content. All material submitted for consideration will receive open-minded editorial attention, and articles, once accepted for peer review, will proceed anonymously to two or more readers. Reviews of books, CDs and DVDs, scores and electronic resources are commissioned directly through review editors. Please contact the respective editors for information on writing reviews

Full-length articles should normally be between 8,000 and 12,000 words long, excluding footnotes, and reviews and reports up to 1,500 words long. Please consult the General Editor (Prof Bennett Zon, bennett.zon@durham.ac.uk) in cases where you wish to exceed or fall short of these limits. Submitted articles should be entirely double-spaced and the pages sequentially numbered.

General queries and any correspondence about a submission should be sent to the General Editor (Prof Bennett Zon, bennett.zon@durham.ac.uk). Enquiries directly concerning the use of ScholarOne should be addressed to the Editorial Assistant, Sue Allerton, ncmreditorial@gmail.com)

Themed Issues

The General Editor encourages proposals from individuals with ideas for themed issues, involving the commissioning of up to five main articles per issue, as well as one or more review articles for coverage of books, CDs, DVDs, scores and digital resources.

Themed issues usually include between four and five articles. Proposers of themed issues work alongside the General Editor, and are designated Guest Editors. Guest Editors are responsible for commissioning, organizing and preparing articles for publication, as well as working closely with review editors to locate suitable material and authors for relevant sections of the journal. Review sections of themed issues are not exclusively thematicized, and tend towards a balance of half themed, and half general material. Articles commissioned for themed issues follow exactly the same process of peer review as general issues, and no guarantee of publication can or should be given to specially commissioned authors.

Those proposing to guest edit a themed issue should initially email the General Editor (Prof Bennett Zon, bennett.zon@durham.ac.uk) with

(1) a statement of 500 words, outlining the thematic nature of the proposed issue, the names (and if available the academic affiliation) of contributing authors along with a working title for their papers and a timetable for submission of work(2) abstracts of 300 words for each article, including name of contributor and title

Open Access Policies

For full details about Cambridge University Press Open Access policies, go to https://www.cambridge.org/core/services/open-access-policies. You will be able to find information on our open access policies, compliance with major finding bodies, and guidelines on depositing your manuscript in an institutional repository.

Manuscript preparation

Please present double-spaced copy, allowing ample margins and avoiding justification of right-hand margins and automatic hyphenation. Paragraphs should be indicated with indentations rather than empty lines, and these indentations should be made with tab stops, not by spacing. Captions, music examples, figures and tables should be numbered consecutively and given separately at the end, in that order. The desired location within the text for all exemplifying material should be indicated, normally as an entry within square brackets on a separate line following the end of a paragraph. Please spell out ‘Example’, ‘Figure’ and ‘Table’ in full. Music examples should in all cases give full details of the source or edition from which they are derived.

Contributors who wish to reproduce illustrative material as figures should provide good-quality copy in an electronic file, full details of the source and the full address of the copyright holder if this differs from the latter. Any inclusion of such material will be at the discretion of the General Editor. For reviewing purposes, image examples for submissions should be compressed to no larger than 500KB each. If the submission is accepted, full-resolution images will be requested at that time. If you request colour figures in the printed version, you will be contacted by CCC-Rightslink who are acting on our behalf to collect Author Charges. Please follow their instructions in order to avoid any delay in the publication of your article. Contributors are responsible for obtaining permission to reproduce any material for which they do not hold copyright and for ensuring that the appropriate acknowledgements are included in the typescript. The full address of the copyright holder should be provided.

Writers should adopt British spelling and style, including all British versions of musical terms. Single inverted commas should be used for quoted material, with double quotation marks reserved for quotations within quotations. Punctuation that is not part of the quoted material should occur outside closing inverted commas. Longer quotations should be set off, indented left without quotation marks. Prose citations should be in English unless the original is of particular interest, unpublished or inaccessible, in which case the original should be accompanied by a translation in parallel text.

Writers should consult recent issues of the journal for guidance on matters of form and style. More detailed information on the style of submissions may be found in the House Style section below.

We welcome and encourage submissions from non-native speakers of English. However, every effort should be made by non-native speakers of English to have their final draft checked by a colleague who is a native speaker of English. Manuscripts may be sent back to the author(s) if serious language deficiencies remain in the text. We list a number of third-party services specialising in language editing and / or translation, and suggest that authors contact as appropriate. Please see the Language Services page for more information. Please note that the use of any of these services is voluntary, and at the author's own expense. Use of these services does not guarantee that the manuscript will be accepted for publication, nor does it restrict the author to submitting to a Cambridge published journal.

When a submission has been accepted for publication, after any revisions askedfor by the General Editor has been satisfactorily completed, the author should send a copy of the final version as an email attachment, on paper (one copy) and on disk (one copy). Pdf files should not be supplied for the main text. Any illustrative material should preferably be given in tiff rather than jpeg format. The publisher reserves the right to typeset material by conventional means if an author’s final version proves unsatisfactory.

ProofsFirst proofs in Pdf format only will be sent to the author who will be expected to return them to the production department within three days. Authors should note that no substantive alterations or additions can be made to first proofs, and should ensure that their final submissions must be thoroughly checked for accuracy.

OffprintsEach author will receive a Pdf file of his or her published article.

Text conventions

Abbreviations1. Use <bar/bars> rather than abbreviated forms.

2. Write out all ordinals (thirds, fourth, eighteenth).

3. Avoid such common abbreviations as <e.g.>, <i.e.>, <etc.>, <viz.>. In general,they can be substituted by literal expansions (<for example>, <and so forth>), although recasting of the phrase may be preferable.

4. Spell out <page/pages> when they occur in main text.

5. Circa to be used thus: <c1738> [italics, no gap to following numeral]

8. Write out all instrumental and vocal designations in conjunction with musicexamples: <Viola>, <Tenor>, <Bassoon>.

9. Internal contractions are not followed by stops: <Dr>, <Jr>, <Nos>, <vs>, <St>,<Eds>.

10. Accidentals need only be spelt out in connection with key signatures (<F sharpmajor>); otherwise they should take their musical form.

Capitalization1. Capitalization of English titles (of music and books) should be maximized[capitalize all words except articles, prepositions and coordinating conjunctions]. Forother languages this should follow the customary style of the language concerned. In French, Italian and Spanish, capitalize the first word only and any proper nouns; in German same as English except do not capitalize proper adjectives [therefore indefinite adjectives such as <andere> remain small].

2. All style-period designations and –isms lower case: <baroque>, <gothic>,<romantic>, <classical>, <neoclassicism>, <impressionism>. This does not apply when the terms are used as substantives: <the Baroque>, <the Renaissance>, <the Romantics>.

2. Hyphenate other compounds that modify a following noun. For instance, <voiceleading> only hyphenated when used adjectivally: <the voice-leading continuity>.Similarly, <the movement is in sonata form> but <the sonata-form typology>. Note also <double stopping> but <a double-stopped dyad>.

One to ten in words, 11 onwards in numerals (except general numbers: in the two hundred years after his death). Reword to avoid starting a sentence with a numeral.

Use all numerals when dealing with statistical information (e.g. 'There were 84 musicians involved, including 28 string players and 2 percussionists'; 'This represents just 4 per cent of her total output').

Translations of quoted phrases within the text (i.e. not displayed extracts) should follow the original in parentheses with quotation marks. For example: ‘La maison est belle’ (the house is beautiful’). Translations of displayed extracts should be in a footnote (no parentheses, but within quotation marks).

Simple, non-descriptive titles of works, movements, etc. to be in Roman: String Quartet, Scherzo, Prelude, Andante (but note general use lower case: that year she wrote a string quartet, two symphonies and a mass).

UK spelling and terminology (e.g. semiquaver rather than sixteenth note)• '-ize' rather than '-ise' spelling.

Use encyclopaedia, aesthetic rather than encyclopedia, esthetic, etc.

No ampersand, except in proper names (such as Faber & Faber).

Illustrations and figures

1. All figures should be supplied as separate TIFF or EPS files. It is essential that JPEG files are greater than 320 dpi.

2. All figures must be cited in the manuscript and each file clearly named. Figures must not be ‘pasted’ into the word file.

3. Line artwork should be supplied in black and white mode at a resolution of 1200 dpi; combination artwork (line/tone) at a resolution of 800dpi; black and white halftone artwork should be saved in ‘greyscale’ mode at a resolution of 300dpi; colour halftone artwork should be saved in ‘CMYK’ mode for printing purposes and ‘RGB’ mode for web only files at a resolution of 400 dpi.

4. Musical examples should be computer-processed wherever possible, but will be reset by the publishers if necessary.

7. Tables to have horizontal rules only (above/below headers and at bottom).

References

1 General points (footnotes/citations)

Footnotes, not author–date references. To be first name, initials (closed up), surname, book title (place of publication: publisher, date): page numbers.

Months in citations abbreviated to 3 characters; other months in notes given in full.

Seasons to be lower case (spring, not Spring).

Full citation on first mention; author surname and short title thereafter, with a comma before the page no., e.g. Newbould, Schubert, 52.

No 'p.' in notes (just page number), but textual references have '(p)p. xx'.

US places of publication to have the state as 2-letter abbreviation (e.g. Cambridge, MA) unless well-known (e.g. New York) or included in the publisher's name (e.g. Berkeley: University of California Press).

In notes, use 'Ibid.' rather than repeat a short title (but only use if the title is given in the note above; do not use op cit.). Where the page number is the same as in the previous note, there is no need to repeat it.

References that include a reference to a pressbook should also have a p. for page reference to differentiate the two numbers – e.g. in pressbook 36, p. 31 (not 36, 31).

Alexander Weinman, ‘Haslinger’, in Grove Music Online, www.oxfordmusic.com (accessed 19 Jan 2016) NOTE: do not use URL from search results

3 Quotation marks and punctuation

The UK English punctuation system is different from the US system - whereas the US system is to have all final punctuation within the closing quotation mark, in the UK system this depends on whether or not the punctuation is part of the original quotation.

Where just a word or short phrase is being quoted, the quotation mark should come before the punctuation (e.g. She reported that the weather was 'very cold for the time of year'.)

Where a whole sentence is being quoted, and introduced with a colon, the punctuation comes within the quotation marks (e.g. Wilde had much to say on the matter: 'I can resist everything except temptation.')

There will inevitably be grey areas under this system: further guidance can be obtained from the Oxford Guide to Style or the new Hart's Rules.

4 Capitalization guidelines

Titles in English to have important words initial capitals.

Foreign language titles to follow the rules of that language: All other languages except German and French have minimum caps.

German has first word and all nouns capitalized.

In French, the first word only is capitalized, unless it is the definite article, in which case both the article and the noun are capitalized. If an adjective precedes that noun it is capitalized also. Some examples: La Chambre bleue, Les Fleurs du mal, Illusions perdues, L'Eternel Mari, La Tentation de saint Antoine. (Note: no accents on capital letters.)

Sections of the journal

1 Articles

Title – important words initial capital

Give author's name and place of writing

2 Review article

Give title of review, followed by book information as per book reviews.

Composer Overture to TitleSymphony in A major op. 6Composer Song; Song; Song

[note composer name not necessary if only one and it’s in the title]

Artist’s name pf, Artist’s name barOrchestra’s name, Artist’s name condLabel and number (1 CD: 66 minutes), priceNotes in English and German

Author and place of writing given at end of review.

NOTE: copyeditor to style and format what is provided only. Reviews editor responsible for providing content

5 Score reviews• Headings to be in the form:Composer’s name, Title of Work, edited by John Smith (Place: Publisher, year). xv + 142pp. Price

• Author and place of writing given at end of review.• NOTE: copyeditor to style and format what is provided only. Reviews editor responsible for providing content Style1. Gaps after all abbreviating dots: <Op. 17>, not <Op.17>; <C. P. E. Bach>, not

<C.P.E. Bach>.

2. Figured bass symbols use super- and subscripts; for metres use form <6/4>,<3/8>.

3. <King Felipe V>, not <King Felipe the Fifth>.

4. Where an original-language version of a quotation is deemed necessary, and it isof appropriate length, this should be given in parallel text with the translation rather than in a footnote. The translation should generally follow the original version.

5. Conference reports should include full university or other affiliations of speakersand other significant individuals, using the form of the name found in the languageconcerned. Where there is no institutional affiliation, place of residence should be given.

6. Avoid numbering of subsections of articles unless there is a clear reason for it.

7. Use the form <Symphony No. 45/i> and <Wq13/iv> when referring to a particular movement in the text. Style for captions: <Symphony No. 45 i> [no comma].

8. Avoid such forms as <‘[t]he’>; it is now generally accepted that there is no needfor such precise disclosure.

9. Conference reports and reviews contain no footnotes.

10. In Contributors section, job titles should be capitalized. Any publicationsmentioned should have full bibliographical details. Unpublished book titles should be in inverted commas, not italics.

11. Authors submitting revisions of material for publication should not includeformatting markings, such as crossings-out and colours, to indicate changes.

12. Any acknowledgments at the start of an article or essay should take the form of an initial unnumbered footnote.